In the early years of the 1700s, at the end of the reign of Louis XIV (who dies
In the early years of the 1700s, at the end of the reign of Louis XIV (who dies in 1715), there was a shift away from the classicism and “Grand Manner” that had governed the art of the preceding 50 years in France, toward a new style that we call Rococo. The Palace of Versailles (a royal chateau that was the center of political power) was abandoned by the aristocracy, who once again took up residence in Paris. A shift away from the monarchy, toward the aristocracy characterizes the art of this period.
What kind of lifestyle did the aristocracy lead? Remember that the aristocracy had enormous political power as well as enormous wealth. Many chose leisure as a pursuit and became involved themselves in romantic intrigues. Indeed, they created a culture of luxury and excess that formed a stark contrast to the lives of most people in France. The aristocracy—only a small percentage of the population of France—owned over 90% of its wealth. A small, but growing middle class will not sit still with this for long (remember the French Revolution of 1789).
The early seventeenth century was marked by unrest and near constant warfare; however, by the mid seventeenth century, France had emerged as Europe’s largest and most powerful country. France, under Louis XIV, was an absolute monarchy where full power resided with the king. As an absolute monarch, Louis was not subject to any constitutional limitations, leading him to declare “l’etat, c’est moi” (“I am the state”). Louis ruled by divine right, receiving his authority directly from God. The concept of divine right allowed Louis to quash emerging rebellions while establishing legitimacy. Louis became known as le Roi Soleil, the Sun King, furthering his claim of divine lineage by recalling the ancient Greek god Apollo and declaring himself, in his usual modest manner, to be the center of the universe.
Recognizing the importance of propaganda, Louis and his advisors embarked on many large-scale projects, most memorably the expansion of Versailles from a rather unassuming (by royal standards, at least) hunting lodge to an enormous, gilded (and mirrored) palace. Versailles reinforced the image of the Sun King and infused the Baroque style with classical elements, visually linking Louis’ rule to the might of Imperial Rome. As the leading patron of the era, Louis XIV employed a workshop of artists and architects; Hyacinthe Rigaud became the principal painter to the king.
Rigaud’s monumental portrait displays a life-size, full-body depiction of Louis XIV. The composition recalls Anthony Van Dyck’s 1635 Charles I at the Hunt. Louis, as the focal point, stands in the center of the canvas, his body angled slightly while his face is turned to meet the viewer with the confidence and directness expected from a king.
Billowing embroidered silk curtains form an honorific canopy over the King’s head while the lavish carpeting creates an opulent environment worthy of the king’s presence. To the left, a marble column sits ato